August 31, 2024
Felix Bornholdt is a New Zealand-born pianist and composer, known for his active involvement in the Australian improvised music scene and as a member (until recently) of the band Lime Cordiale. He has a rich musical background, influenced by a diverse range of genres from ECM and Bach to avant-garde jazz, which he was exposed...
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Episode Transcript
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(00:07):
Welcome to the keyboard chronicles of podcast for keyboard players.
I'm your host David Holloway and I'm pumped as always to be here with you Paul Bindig.
It's always a damn pleasure to have you here as well.
How are you sir?
The pleasure is all mine David I'm excited once again to be with you and I'm lookingforward to our guest.
Yeah, look it was we've just finished a lovely time with Felix Bornholt.
(00:31):
So some of you will have heard of Felix's work with Lyme Cordial.
Others won't.
We're obviously the vintage Paul that we're aware of Lime Cordiale thanks to ExtendedFamily, i .e.
the Next Generation.
But as you mentioned in the show, this is a real deal band that does some amazing musicand I certainly am keen to go and see them.
(00:52):
So we chat to Felix about quite the gamut of stuff, don't we, Paul?
Yeah, I have a little very incidental personal Lime Cordiale anecdote, which I'll tell inthe outro, but...
They're a big deal.
They're a big deal.
That's for sure.
And we're very lucky to get hold of Felix.
He's also a very busy guy.
Yeah, absolutely.
They're about to embark on another big tour.
(01:12):
So yeah, I hope you enjoyed this interview with Felix and we'll see you after the show.
Felix, it's an absolute pleasure to have you here, sir.
And for those of you outside of Australia, as you can see, we're suffering through awinter here, unlike all you lucky people sweltering in the heat of Europe and the US.
(01:39):
But yeah, wonderful to have you here.
it's great to be here.
And yeah, it does get cold in Australia.
Who would thought?
It does.
So I thought we'd kick off, Felix, just with.
A usual question about your musical upbringing.
know you're New Zealand born and bred.
I'm just really keen in those early years before you moved to Australia to study music.
What were your formative years like from a musical viewpoint?
(02:01):
What got you passionate about music?
Yeah.
I so I grew up in Wellington and New Zealand.
And I mean, I owe a lot of it to my dad.
My dad is a huge jazz and vinyl nut.
And so is my uncle, actually.
And we live just down the road.
So.
I kind of grew up on this really, I guess this diet of like a lot of ECM, kind of like theArt Ensemble of Chicago, Don Cherry, Pharaoh Sanders, and kind of lots of pretty, I guess,
(02:34):
yeah, my dad kind of, there's music playing constantly in the house.
I mean, to the point where still when I go home now, I will get woken up at 7 a in themorning, because Greg, my dad, will have put on, you know, like some pretty hard yacker.
like Pharaoh Sanders record, top volume, everyone's in bed.
That's just, that's kind of what happens in the house.
(02:55):
So I grew up on all that music and that was just always there.
And my uncle as well, you they had this huge vinyl collection.
think, you know, when they were putting together, there was a book on Mike Knock, thepianist, done a few years ago.
And they had to come to my dad and my uncle because they had Mike Knock records.
(03:16):
that Mike Nock didn't have and no one had.
you know, they kind of have this amazing collection.
So I grew up on all this really interesting music.
And I should say, yeah, my dad's a painter and a poet and my mom is also a poet and awriter.
So I sort of grew up in an environment where everyone I knew through the family was,everyone was writers or painters.
(03:40):
And that was what my parents did.
You know, no one I knew had a normal job.
So it almost seemed, I think, you know, the big rebellious thing to do would have been toget a normal job.
And it seemed very normal that of course you'd go and study jazz piano.
And that was, guess, yeah, just going on all that music.
I obviously played all through my childhood and about halfway through high school was kindof thinking like, yeah, this makes sense.
(04:06):
I want to do this with my life.
And then surprisingly, you know, my dad was...
or and my mom were both like, yeah, of course you've got to do a jazz piano degree.
That's a, that's a no brainer.
so you preempted my next question beautifully, Felix, which was, yeah, why was it asidefrom you were doomed from the beginning, it sounds like in a positive way as far as your
(04:26):
exposure to jazz.
No chance at all.
But yeah, so what was the decision that from being immersed in that as a, as a teenagerto, okay, I'm actually going to do this full time and study it.
What, what was the
turning point for you?
I mean, there's probably, you know, there's probably some records, but we can save thosefor desert island discs.
(04:49):
I think maybe also realizing, because, you know, New Zealand does feel very far away fromthe rest of the world and possibly realizing, I kind of discovered maybe halfway through
high school, this whole Australian jazz scene.
and musicians from New Zealand.
And that was sort of very inspiring.
mean, you know, there's great New Zealand and Australian musicians and sort of realizingthat that was a thing and that that was possible.
(05:16):
And I mean, I moved over here to study at the conservatory and I did the jazz course thereand sort of finding out about that was this amazing moment of realizing, you can do this
in this part of the world.
And there's this amazing tradition of really incredible music coming out of the SouthPacific.
I think I'd always been very New York -centric in terms of where I thought it happened.
(05:39):
And it was kind of amazing realizing, there's these things happening quite close to home.
What would be something our listeners might not know that speaks to that as far as theSouth Pacific tradition in this sort of music?
Yeah, I mean, even as a crossover, there's a Mike Nock album.
(05:59):
Mike Nock, if you don't know, is
Just this amazing pianist.
He's originally New Zealand, but he spent a really long time in America, was in bands witheveryone.
and now lives in Australia, but he, yeah, he made a record on ECM, called on Das.
And, know, there's a, which is kind of, it's like a really famous seminal jazz record.
(06:21):
And there's a track on that called blank, the long white cloud, which is a, a term for NewZealand.
So there's kind of these things of, yeah, you see this.
New Zealand track on an ECM record by a New Zealand pianist.
Yes, they help you connect the dots a little bit.
Now, that's great.
And so what's your recollections, Felix, of turning up to Sydney to actually study this?
(06:45):
So obviously, as much as you were immersed into and you would have developed a body ofknowledge, what what was what were the eye openers in that more formalized study for you
both as a player and just as an appreciator of the genre?
I mean, guess I had that very classic thing of by the time I left Wellington, I'd reallybeen doing it for quite a, you know, was practicing hours a day.
(07:10):
I was doing a lot of transcribing and, you sort of get to a certain level where I wasfeeling like, I'm kind of, maybe I'm the guy in my high school.
And then obviously coming from New Zealand to Australia, where there's just a lot morepeople and the con and having that just the classic moment of like, I am right.
bottom here.
(07:31):
There's a lot of work to be done.
But I mean, I was totally enchanted when I first moved here.
Wellington's a really amazing city, but it is small.
Yeah, I think that 200 ,000 people or, and so moving from there to Sydney, where I thinkthere's 6 million people in Sydney, it did really feel like I was just rocked up in New
(07:56):
York and I was
Living with this amazing trombone player, Matt O 'Brien, who's a phenomenal musician.
He's really great in Australia, but we were just going out to gigs like six nights a weekin Sydney.
Kind of for the first like two years that I moved here, because it was just a reallyforeign thing to be like, there's jazz on every night here and you can go see it.
(08:18):
And it was a lot of records I'd been listening to in high school, like the Catholics andkind of in my head, these people were more famous.
and kind of meant more to me than, you know, like you ran into Taylor Swift or something,it was like, my God, the Catholics are doing a gig.
We've got to go.
And it was just that very kind of enchanting period of getting here and practicing at timeand seeing all this music and realizing you're not good and you kind of put in a lot of
(08:46):
work.
So Felix, tell us about, so you're in Sydney, you're studying, as you say, you're outregularly checking out jazz gigs.
How did this morph for you into starting to gig regularly yourself?
What did this look like?
What were you doing at the time?
Yeah, mean, was sort of an interesting path.
(09:08):
I I didn't really play gigs for the first couple of years in Sydney, apart from veryoccasionally, because I was sort of really...
I guess very self -conscious or slightly paranoid about, you know, I'd become aware thatmaybe I was not quite as good as being the only guy in Wellington would lead me to
(09:28):
believe.
And I think I really felt not in a rush to suddenly start performing publicly.
guess, yeah, through the corner, was really into, and I'm still really into likeimprovised music and creative music.
I guess, yeah, that's weird to call it creative music, experimental music.
So I was, yeah, for quite a few years, I was doing a lot of gigs where I was playingprepared piano, you know, like putting nails and bits of sticky tape inside the piano and
(09:57):
kind of turning it into percussion instruments.
And I was doing quite atonal and avant -garde performances and yeah, playing kind of long,I guess, long form durational, yes, strange improvised things on prepared piano.
As well as some more traditional jazz, you know, the kind of bread and butter jazz gigsthat you do.
(10:21):
And like, I still really love playing standards.
Yeah, it was a weird sort of side by side thing.
Cause I was in my last year at the con and I was doing a thesis on Messiaen, the Frenchcomposer and looking at so nerdy.
We can nerd out.
was looking at one of, he has like these modes of limited transposition.
(10:42):
These kind of interesting scales that he.
invented or discovered.
And I was doing a thesis on using one of those and ways that you could build animprovising language around that.
And then at the same time, I also started playing in lime cordial.
So I had these two concurrent streams that were quite, quite different from each other.
(11:04):
All right, so let's talk about lime cordial.
Now,
our Australian listeners and viewers will be very familiar with Lyme Cordiale but it'spossible that some of our overseas listeners and viewers may not.
here's my description of Lyme Cordiale but I'm much more interested in Felix.
Lyme Cordiale, contrary to popular belief of people my age and David's age and older,where we all go modern music, know, it's all just someone in their bedroom pushing buttons
(11:33):
and there's no actual musicianship behind it and it's boring and there's no modulation andit's...
Well, Lime Cordiale very much gives the lie to that idea.
Lime Cordiale are a real band that play real music live and they are phenomenally popularwith young people.
And I was telling Felix a story off air before that my two sons are signed up committedrabid Lime Cordiale fans and so is David's daughter.
(11:58):
So our adult children love Lime Cordiale.
we're...
I'm much more interested in your perspective on Lime Cordiale.
So A, how did that start happening?
So on one hand you're playing these avant -garde gigs with nails on piano strings.
How do we end up playing in a phenomenally popular current band that is scaling greatheights?
(12:20):
But also I'm interested in your perspective on the music and how you perceive LimeCordiale and what attracted you to it?
I guess that, you know, the connection is kind of actually a Sydney Conservatorium one.
because yeah, was good friends and studied there with Nick Polavinio, who's a trumpetplayer and guitarist, really phenomenal.
(12:40):
And he was already playing in the band in Lyme.
So we were at uni together.
I was head deep in the thesis.
then, yeah, Nick gave me a call one day and said, you a keyboard player in this band.
Are you kind of interested?
And I was like, yeah, you know.
pretty deep in the mess I am at the moment, but yeah, we'll do this.
(13:03):
We'll give it a go.
yeah, I mean, obviously checking the music out, like where the music was at that stage,was a very, I think things that appealed to me about it, it was a very instrument heavy
band, or you know, there's a real, everyone can really play and there's a real attentionto parts and detail.
(13:24):
Also,
Nick and I were both at the con and then James who plays drums also went through the jazzcourse at the con.
And Ollie who's a lead singer and kind of one of the lead singers and kind of runs theproject did classical clarinet at the con.
So there's four of the five were through the conservatorium.
(13:44):
So think maybe there's a little bit of an outlet there for everyone still wanting toreally be on the instruments.
Yeah, you don't just want to, you know, I think there can be a tendency, I would pop back,know, you throw everything on the track and on backing track and call it a day.
And there was a, there's a real aversion to doing that, which is great.
(14:06):
And with the lime thing.
Yeah, I think that's what that's wonderful.
And, and I'm really curious as to what, what's the touring rig look like for LimeCordiale?
So what's, what are you taking with you when you're, when you're playing these shows andhow you're using it?
Yeah.
I mean, it's not too complicated.
It's almost fairly unsexy, but it's really good.
(14:27):
I have a Yamaha CP -73 as the main keyboard for the Rhodes piano organ sounds.
I just feel like, yeah, for key beds, that's the best feeling thing I've played.
(14:47):
Stage pianos are such a tricky one.
I mean, I don't know how you guys feel about them.
I haven't found one that does everything that you want it to do.
Yeah, I think that's probably a, I think that would be a common experience, Felix.
I use a Korg SV188, which I love, but it has also had one of those.
(15:14):
Okay, there you go.
It has got its limitations, but it is fantastic for your roads and your whirlies and thatsort of thing as you would know, Felix.
But then when I'm touring around, I tend to end up getting Roland versions of Rolands,which aren't bad either, but they have their limitations too.
But it sounds like Yamaha is the one that does the most things for you, the right way.
(15:35):
Yeah, yeah.
It's good.
And it's kind of, I guess, structured in a way where I do just keep that for, yeah, pianosand roads.
tones.
have actually had, I've sort of pitched it to people on Instagram or, know, nativeinstruments on Instagram.
But, know, I do think it would be great just to have a stage keyboard that was really well-weighted that you could run contact libraries on.
(16:02):
people are sort of, think, you know, possibly a reason they won't do that is because itwould probably remove a lot of
market need to ever upgrade it.
And that's probably not in keyboard manufacturers' best interests.
Because that just seems and I have looked at certain points about getting really stuck inand building like a custom keyboard with like a knock or like a mini computer or two Mac
(16:28):
minis in it to do that.
But it sort of gets a little complicated and yet potentially less stable.
But that's kind of always been the dream is something that you can run contact librarieson.
that's all in the one box.
So you're not having like tons of laptops side of stage.
Yeah.
But yeah, so I was going to say the Arturia Astrolab is sort of Arturia's attempted thatneeds a nice first step, but yeah, I couldn't agree more.
(16:56):
So sorry, keep going, Felix.
Yeah.
Yeah, I was very excited about the Astrolab.
And yeah, that's, that's a bit, that's a bit of it.
It's kind of, that's the closest that's ever been.
So that was, you know, maybe other companies will have to kind of have an answer to thatnow.
because I have that.
And then I also have a UDO super sex, which I'm so pleased.
(17:19):
I see it everywhere now.
It's so loved.
Yeah.
And it's great.
I bought it in Bristol.
I went to the factory where they make that synth.
I mean, I say factory, it's three guys in like a little office in Bristol.
and yeah, George Hearn who designed and built the synth.
was there and they just worked there full time.
(17:41):
They're all built by hand.
So spent a morning there in Bristol a couple of years ago where they were showing me, theyhad a bunch of them in various stages of assembly.
And I mean, that's just an amazing synth.
I think like for, actually, I do think we're kind of coming out of it at the moment, butthere was a real era of just vintage synth revival.
(18:03):
And the UDO or the Super 6 is like a really new instrument, I think.
You know, it doesn't feel, guess there's elements of it that are kind of like a Juno, butit's pretty like its own thing, you know?
and just, you know, great, just having a tiny company and it's, it's really amazing whenyou see them, like how much detail goes into every single unit, like they're totally hand
(18:28):
built.
and yeah, it's an amazing sounding set.
Yeah.
You're not helping me feeling something tempted to buy one of them a few times.
You're making me want to again.
Pull the trigger on it.
Actually, I would...
Just get it, I'd go, let's say the Super Gemini, that new one they just released.
That's right, yeah.
(18:48):
That's kind of the one.
I mean, that's almost, yeah, that's a pretty big thing to tour.
Yeah.
But yeah, for props to the Udo, I really hammered that thing on the road, probably doing100 shows a year with it for a few years and it's never busted once.
I've never had to take it apart.
never had any problems with it.
(19:09):
Yeah, no, exactly.
And you've raised a really interesting point there, Felix.
So touring and Lime Cordiale have been a very big touring band.
know you've got a number of huge number relatively of European and then back in Australiandates, later half of the year.
Tell us about your initial experiences and what you've learned as a traveling touringmusician.
(19:29):
We all know it's a hard grind, but just give us your perspective on how hard a grindthat's been a what.
that also some of the positives have been of that.
Yeah, I mean, like I've always been someone I really love being on the road and I guessthere's been different phases, possibly something that is really different in Australia
compared to like the US or the UK that people maybe don't realize until they come out hereand have to do one is that you have to fly everywhere in Australia.
(20:03):
And especially when you've got
back -to -back shows, you basically don't really sleep at all kind of over a tour andyou're having to fly all your gear.
So mean always onto a, it's with the lime thing, we've been flying around like 600 kilosof gear that just gets checked in the same way you'd check in a suitcase.
(20:27):
And that was how we did it for years and years.
And I think that's, I've never done any touring harder.
than touring in Australia.
You know, I really do feel like a weekend of shows in Australia is much harder than sixweeks of shows in the States or in the UK when you're on a tour bus.
(20:48):
And then, yeah, I guess in the last few years being on buses, that's been just fantastic,you And then a whole other thing to learn of how do you live with these 12 people
constantly.
Where you can you know, you're in bunks and you can reach out and touch everyone You'rethat close Yes, now it's a really good point and as you know, they're a level So it sounds
(21:12):
like you had a few years of the van level and now you're at the bottom level and you knowYou never know hopefully you're at the the plane level even in the US and Europe Or back
to the van That's right your own van your own
No, that's great and we will be linking to, as said, Limecord are doing some extensivetouring still the remainder of this year.
(21:36):
So yeah, no, appreciate that perspective.
And from one extreme to the other, as far as a busy touring life to your own solo work andyour solo piano record, tell us a little bit about that and what itch that scratches for
you.
Yeah, a lot of the music I grew up on, all that ECM stuff.
You know, I've like really grew up on a lot of solo piano and I felt like a affinity tothat or like closeness to that as a, genre is not the right word, you I guess a mode of
(22:07):
writing or a mode of working.
And I've really wanted to, yeah, I guess I've always really wanted to make a solo pianorecord and I will make more, you know, it's not one down, that's it.
The record I put out last year, Man Overboard, was sort of a combination of, I guess,about half the record is completely improvised.
(22:34):
And there's a couple of things on it that are through composed.
And then there are a few things on it that were, I guess, little cells or ideas.
mean, because I grew up as such an improvising musician, that's something that's reallyimportant to me.
And I guess going into that recording date.
I was trying to just prepare material that could have an openness to improvising withouttrying to delineate things too much.
(23:02):
You know, I think if, at least for me, if things are too codified, can, it's easy to getneurotic in your head if they're not working and then really trying to make them work as
opposed to being open to just changing things on the day.
So a bunch of, it's almost like a bunch of the material for that record was half prepared.
(23:23):
with the idea of, you know, it would fully form itself on the day.
I think it's also a really piano specific thing because I was preparing a lot of thatmaterial on like this beautiful old upright that I have at home, which had this gorgeous
warm, you know, that really close upright sound.
But I knew that I was going to record the record on a Steinway Model D, you know, 12 footconcert grand in a concert hall.
(23:51):
And you know, it's technically the same instrument, but you're pretty far apart from thepiano.
You'd be upright in your living room to that.
And I think you can make things work really well in your living room and they're not goingto translate at all into the piano and the concert hall and vice versa.
think, I mean, this is one of the total banes and joys of playing the piano is that you'renever playing the same instrument.
(24:21):
And that, you know, piano to piano, the touch is so different, the way it responds is sodifferent, the tone is different.
There's that great Paul Blay quote about, you know, I think he says something about eachpiano has, you know, one or two good notes or five good notes, and you've got to find them
each time.
And I really, I really feel that.
(24:42):
And it's such a great challenge and also a huge pain, you know, because you.
Yeah, you can prepare things so well on one piano and then find that they're just notworking at all on another one.
So yeah, for that record, was taking care not to overwrite on the piano in my living room,knowing it was going to be happening on the Steinway in a concert hall.
(25:05):
Yeah, and waiting to see what that instrument would reveal to you about itself, which Iguess is your process, right?
Yeah.
And I do really feel there is like, you know, whenever I play those instruments,
which is not hugely often because I don't have a concert Steinway at my house.
But it really does feel like kind of lifting a veil on what you can do on the piano.
(25:29):
like you said, you really, I love how those instruments really make you play at your bestor that they really, they pull you up and you realize things are possible on them that you
might not have thought you could do.
And it's sort of hard because you're so dedicated to this instrument, but you only getthose moments on the instrument kind of infrequently.
(25:51):
Yeah.
I'm very jealous of saxophonists that get to own their Selma Mark VI and that's justtheirs and they pick it up every day and it's always the same.
Yeah, they cuddle it when they go to bed at night, no doubt.
Yeah.
Exactly right.
So this is interesting.
So you've mentioned there that this is not going to be your one and done.
(26:11):
piano solo record you're looking forward to making more in the future.
Tell us about your other future aspirations musically.
mean, from my perspective, you've got a long successful career ahead of you.
Your career has already been successful.
What aspirations do you have?
Are there people you'd like to work with?
there other projects you'd like to explore?
(26:32):
God.
Yeah, mean, there's so much.
I mean, at the moment, I'm working on a pipe organ and tenor sax duet record.
with an amazing Sydney saxophonist, Alex Gisbriser.
So we're kind of getting music ready for that, which I'm really excited about.
Actually, I guess just as a quick aside, I was, this is possibly a good tip for pianoplayers.
(26:56):
If you don't have a piano at home, good to see what churches are around your area.
I'm not a religious person, but a lot of churches have quite nice pianos in them.
And they're normally pretty welcoming to people coming and practicing on them.
which is what I did.
There's a church just around the corner and actually the piano and it wasn't that great,but they have this fantastic pipe organ.
(27:17):
So I started playing the pipe organ a lot and that's kind of led to doing this duetrecord, with Alex, the tennis sax player.
but I'm working on that project.
I also have another band that's just, we're kind of starting to book in properly calledbike thief.
which is a trio with, think Alex Inman on drums.
(27:41):
and Jack Emery playing prepared double bass.
So Jacques, like a total virtuoso, but he lies the base flat.
and then he's also a phenomenal drummer.
So he's sort of drumming on, on the strings of the double bass with preparations in it.
And then I'm playing lots of sub bass and kind of vocal sound.
(28:03):
That's a very like dance music oriented project.
There's a couple of things on YouTube.
That's, that's what a hard one to explain.
If you want to check it out, Chuck bike even to YouTube.
and then, I'd love to, I'm looking at booking in some solo piano dates.
I'd love to do a proper tour and I'll probably try to do another solo record realisticallynext year.
(28:27):
So looking at the schedule.
and I'm also starting to work a lot more in like, film and TV composing.
which I really loved, like, yeah, I love composing to picture.
And that's such a whole new, that feels very new and fresh for me.
And such like a, yeah, a very inspirational way of working, having that much feedback onwhat's informing what you're writing.
(28:57):
It's also really, you know, it's quite foreign for me.
I've been touring for kind of the last seven years.
It's amazing to...
work on music at home.
Yes.
Where you can have a coffee and then get into your own bed at the end of the day.
That's kind of a real, a novelty, which I'm loving.
Yeah, you've great stuff.
You definitely need to value that while it's happening.
(29:18):
So, and so Phyllis, I have to ask, and it can be in any of the outfits, it doesn't have tobe Lime Cordial, but can be a train wreck where something's gone spectacularly wrong for
you and you can laugh about it now, hopefully.
Yeah.
I'm a big gig anxiety dream person.
So I have, have recurring dreams where I walk on stage and all the keyboard, the rig justcollapses.
(29:45):
that's never happened.
I can give you a line, Cordial train wreck where we had a gig a couple of years ago at theHorton Pavilion.
It's a really big venue in Sydney.
about 5 ,000 people there.
and we're on the last song of the set.
It's kind of like the, yeah, the
That's a song called robbery.
It's probably the biggest song as we're cruising to the last chorus.
(30:06):
Huge moment.
Biggest show we've ever done in Sydney.
About to the last chorus and the entire PA dies.
and not like a blip.
It just goes down.
and you know, when you're wearing in years, sometimes it takes a minute to figure outwhat's happening.
So it took us about 10 seconds to realize what was happening.
(30:27):
Then everyone obviously you're talking to.
crowd on the microphone and it's not coming, it's off, but you're not realizing, you know,any realize that, God, there's no way of communicating what's happened.
And yeah, we had to go off stage and it took about five minutes to, fire the PA backupcame on and did the last chorus and then went off and it was kind of good.
(30:48):
It felt sort of rock and roll, but you don't want that happening.
I guess it's a memorable moment if you're in the audience.
You can say, was there the day that Lime Cordiale played and they had to redo their lastsong because the PA just stopped working.
And actually I think my daughter was there and I remember her telling me about that now.
It's funny you say that.
(31:08):
Yeah, there you go.
Hey, she stays with people.
Now, Felix, we ask all our guests this question and that is to tag another keyboardplayer.
And the reason we do that is maybe there's someone that you think would be an awesomeguest.
this podcast or someone that you would like to learn more about themselves?
Yeah, I mean, I would go Novak Mnoylovich if you haven't heard of him already.
(31:32):
He is a phenomenal keyboard player.
So sorry, the reason I'm laughing, Felix, is because my niece is married to Novak'sbrother.
So I know Novak and it's a great pick.
I like your pick.
Hey, I mean, you already know him.
If anyone doesn't, for listeners who do not know Novak, Novak is one of my favoritepianists, probably realistically in the world.
(31:59):
He's a couple of years older than me.
He's also from Sydney.
He was a few years ahead of me when we were studying at the conservatorium.
Just a really amazing singular voice.
He writes beautiful music.
He's an amazing improviser.
He has a lot of re
really interesting projects, string quartet things.
(32:21):
He recently wrote something for the Sydney Symphony, which I saw at the Alperhaus withGodtet.
Novak's got an amazing trio called Heka, which I reckon that's like one of the best pianotrios around at the moment in the world.
It's really amazing music.
And Novak's a great thinker and talker about music.
(32:42):
Yeah, that's my pick.
Great pick and thank you.
And I'm embarrassed to say I hadn't thought of approaching Novak and I will be now.
So if you're not able to get him on the show, will very badly on your inter familyrelationship.
Yeah.
Pressure's on.
No, thank you, Felix.
That's great.
And then, and now we have the dreaded desert Island Discs question.
So five albums, if you could only choose five, what would they be?
(33:05):
Yeah.
I don't know if this is dreaded.
I quite like doing things like this.
I had, me, I wrote these down cause I don't want to mark them up.
in no particular order.
a mutable set by Blake Mills, who's a fantastic guitarist in LA.
I mean, for the last, I had to put this on because probably for the last two or threeyears, I listened to this record every single morning.
(33:32):
And I don't seem to get sick of it.
And it's beautiful.
You know, it's so beautifully detailed.
It's one of those ones that really it opens up.
The more you listen to it.
And it's just so beautifully paced.
The first song, there's two and a half minutes of sort of just very understated guitarthings before, yeah, and then some vocals come in.
(33:56):
You're like, well, I didn't even know this was a, you know, actually I was so in the ageof you've got to have vocals in the first two seconds, otherwise the Spotify algorithm
won't pick it up.
So it's so refreshing to have this thing that just takes its time.
So that's my number one.
My number two.
Colin concert, Keith Jarrah.
(34:18):
Yeah.
I feel like, you know, this is like, it's a, it's a big, it's an obvious pick, but I wastrying to, I was trying to be honest with this.
And like, that was a huge one for me in high school, like hearing that it really, as withso many people, it completely blew my mind and I was so moved by it.
And I'm still so moved by it.
(34:39):
Actually, as an aside, I watched that Keith Jarrett, Rick Beato.
It's amazing.
Yeah.
A months ago and God, I mean, it was amazing, but yeah, it just killed me.
was like completely bawling my eyes out because yeah, Keith's Keith has meant like so muchto me as a musician.
so that's my number two.
Number three, you would go to the mysterious production of eggs by Andrew bird.
(35:02):
Great title.
Yeah, just as a
It's such a beautifully, intricately arranged kind of Baroque chamber pop folk thing.
really, yeah, really singular record, I think.
And I love like Andrew Bird, particularly lyrically is so intelligent.
(35:28):
I don't think any, I don't know anyone else that writes lyrics like Andrew Bird.
Yeah, that's a very refreshing record for me.
And also that was a teenage record where we had that at
in the house.
was actually one of the few non -jazz records we played in the house growing up.
But yeah, that was on a lot.
Andrew Bird, a record called Tribalistas by a band called Tribalistas, which are kind of aBrazilian pop super group made up of Marissa Monche, Analdo Altunes and Carlinhos Brown,
(36:05):
who are these three huge Brazilian stars.
And they, yeah, they put out this self -titled record in 2005.
And it's just phenomenal.
And again, it's a childhood record for me, but it's really joyous music and like such agreat example of, you know, the band is sort of greater than the sum of its parts kind of
(36:27):
thing.
those three all kind of have huge careers in Brazil.
But there's something about this record that's really
You know, it transcends what they can all do individually and great, yeah, greatsongwriting and great instrumentation.
There's a really good concert DVD, not concert DVD, like a studio DVD of them putting thatrecord together that we used to watch a lot when I was a kid over dinner and put on the
(36:54):
Tribal Easter DVD.
And last one, again, obvious choice.
I'm trying to be honest.
I've been listening to Kind of Blue a lot recently.
That's just an amazing record.
you know, like hearing it's such huge personalities on it and they're so distinguishableand it works so beautifully.
(37:20):
in a way that it almost, you sort of can't believe it, you know, having a Miles solo andthen a John Coltrane solo and then a Cannonball Adderley solo.
And they're so completely who they are at that point.
And it's this phenomenal thing.
I've actually also been listening a lot to, you guys heard Blue, that album by mostlyother people do the killing?
(37:43):
It's a note for note recreation of kind of Blue.
played by some really phenomenal New York jazz musicians like Peter Evans is on trumpet.
And you know, note for note, in like, every note of every solo, every drum hit, every bassnote is identical.
(38:04):
And it's kind of this weird art object.
And it's great to listen to.
Sort of, I mean, it's like, I almost reckon listening to it, it's sort of like there'sthings about it that are really funny.
And it sounds so close to Kind of Blue, like where you probably wouldn't know if unless,if you walked into a shop and heard it, you'd go, it's Kind of Blue.
(38:31):
And even maybe you'd really have to sit down and pay attention to it to notice thedifference.
But there's this wild uncanniness of it and it's sort of very funny.
And it changes the whole way you listen to that record.
know, listening to Kind of Blue is this amazing free.
There's a great sense of freedom and relaxation to it.
And then you're listening to listening to blue.
(38:53):
You're aware of this like Hiculean effort and this ridiculous detail.
know, Peter Evans is really, you know, every like kind of imperfection and notes thatMiles plays every like slightly broken note or when Miles doesn't quite make it, you know,
Peter's really nailed that so perfectly.
So you're listening to the same music and it sounds 98 %
(39:17):
the same but there's this it completely recontextualizes what you're listening to.
So interesting we definitely have to check that one out.
Yeah that's great.
We're checking out as a novelty but yeah kind of blue fantastic record.
Yeah and you know the classic thing you you said you were you're being honest but but theclassic records are classic for a reason right so yeah thank you for adding them to your
(39:40):
list.
So we we always finish off with our quick fire 10 Felix which is 10
Quick questions, 10 quick answers.
First thought that comes into your mind as an album.
I'll kick us off.
And this will be an interesting one.
What's the first album you ever heard?
I think it was probably Fold Your Hands, Child, You Walk Like a Peasant by BelenSebastian.
(40:04):
I only know this because I had a memory of there's a song from it that I remembered laterin my life as sort of the first song I'd ever heard.
And I didn't find out what it was until I was
in my 20s, but it was from that record.
Yeah, that one's basically great.
Most important pre -gig ritual.
Look, I'm a big snacker, know.
(40:27):
Snacks, meal, the meal's gotta happen.
Can't be doing a gig hungry.
Amen, brother, amen.
All right, now, your childhood story was so interesting because as you outlined, unlikeprobably many people who get into professional music, there was, were...
fully supported, was almost expected of you that that's what you would be doing.
So this, which really throws this question into great context.
(40:49):
If you hadn't been a musician, what do you think you would be doing?
I would probably be writing.
I read a lot and I grew up in a very literary family and that's something that's reallyimportant to me.
So, yeah, so though it did say in my yearbook, I would be in the Navy.
Yeah, which I don't know where that came from.
I be in the Navy.
(41:12):
Yeah, there was a point where that seemed on the cards for some reason.
I'd be writing.
There you go.
Excellent.
Now, assuming that someone from the conservatory was listening, I think you have a vestedinterest in how you answer this, but transpose button or adjust on the fly.
you've got to manually transpose it.
(41:36):
Have you ever used the transpose button?
This is a supplementary to David's.
Have you ever touched it?
No.
No.
I've played things really badly in a key I didn't quite get around a lot, but I've neverhit the transpose button.
so I'm stealing that.
I've done that a lot, regularly.
(41:59):
What's the favorite gig you've ever done?
A few months ago, I played a show at Wayward's in Sydney with Bike Thief, that trio withthe prepared double bass and drums.
Something about it, mean, that music for me, it's you got to be so on and so aware andhanging by the seat of your pants.
(42:19):
And it was just, you know, a little hot, sweaty club gig.
But yeah, came away from that.
couldn't sleep.
I was up all night.
I was so charged up from it.
That was probably, yeah, that's the one for me.
And favourite city you've ever played, I love New York.
(42:42):
You know, it's almost too expensive to go there now, but I really love New York.
that feels like a really, playing a gig in New York, it does feel like a pretty importantlife moment.
Have you noticed David how no one ever says Adelaide?
Yeah, that's right.
I it might be a chance.
sorry, I meant Adelaide, yeah.
Now you're lying.
(43:03):
Okay, the favorite song you've played at a gig this year, and it's last year or so.
The favorite song you've played.
Can I pick one of my own?
Because it was the first time I played it.
Yeah, I did a solo piano gig, which is the first time I've done one for quite a few yearsat the start of this year.
And I played a song that's on my record, Man Overboard.
(43:23):
called Rosie's Glorious Return to the Pool.
And it was the first thing I kind of put together for the record and it was the firstthing I ever released under my own name.
And it was just a really great feeling to, yeah, I when you've seen something through fromzero to full conception, it was just a fantastic feeling to do that.
(43:46):
Great.
Favorite music documentary or movie, Felix, if you can pick one out.
Might be the tribal easter's DVD.
got this.
Tribal easter's DVD.
Fantastic.
Stop making sense.
Fantastic.
Spinal tap.
Fantastic.
I shall watch it really good.
(44:07):
I can't remember the name of it.
There's a really good new docco on the velvet underground.
I know what you mean.
Apple TV.
The names just suddenly escaped me.
I thought that was really good.
What's one thing you would love to see invented that would make your life as a keyboardplayer, pianist, organist easier?
(44:29):
Maybe apart from your great stage piano idea?
me think, Dan.
I spend a lot of time obsessing over that stage piano idea.
I think the melding of computers into...
synthesizers or interstage keyboards hasn't really happened in a way that makes sense yet.
(44:52):
And there's, I would love to see something that lets you kind of have the same control asrunning Ableton in terms of sampling and soft synths that was built into a keyboard in a
way that makes sense.
Yeah, no, great pick.
And very last one, Felix, what keeps you sane outside of music?
(45:13):
What's a non -musical activity or hobby that you like doing?
I'm a big reader.
I read a lot, like, on tour and at home.
So, yeah, that's a huge one for me.
Give us a book recommendation.
what am reading at moment?
I'm reading a great book at the moment called Priest Daddy by Patricia Lockwood.
She grew up in a house where her father was a Catholic priest, which is very unusual, butand a complete
(45:39):
bizarre character.
It's a really, really funny memoir.
That's fantastic.
I've also been reading the novels by Ben Lerner, great American writer and poet.
He's written three novels.
Also in Sydney, whenever I tell people that, there's a great saxophonist here, also fromNew Zealand, called Ben Lerner.
(46:00):
And so always say, I've been reading Ben Lerner's novels.
Everyone goes, I don't know Ben wrote novels.
Felix, we cannot thank you enough for taking time.
That's been an absolutely brilliant chat.
We're thrilled to see what happens with you in the future and I'm certainly hoping to getalong to some gigs, particularly if you're doing, as you said, more solo piano gigs and
(46:21):
stuff in the future.
We'd love to get along and see you, but yeah, again, can't thank you enough for your time.
Thanks so much for having me.
And there we have it.
So I've been waiting, Paul.
(46:41):
What's your line, Cordial Anecdote?
I want to hear it.
Well, it's not something I really wanted to mention during the interview because it's sucha funny, silly little story.
there's a large venue in Adelaide called Febbiton Theatre, which holds about, when I saylarge, holds about 1 ,800 people.
for the town of Adelaide, it's a significant sized venue.
(47:02):
And my tribute band has played there a few times.
On one of our recent visits to Thevenin Theatre, we thought we'd sold out pretty well.
we found out we were following Lime Cordiale.
They were playing the two nights before us at Thevenin Theatre.
And my kids went to that show, opposed to going to my show, they went to that show, and itsold out both nights.
(47:26):
And I said, and I didn't know this, I there many, I see they played two shows, were theremany people there?
Dad, it sold out both nights.
In an hour or something within going on sale.
They're very popular and becoming more and more popular overseas too now and rightly so.
Please, listeners and viewers, for those who haven't heard Lime Cordial, just check itout.
(47:47):
It's great music and you can see why it's popular.
So it's nice to see this sort of music which is really serious stuff attracting so muchpopularity from young people.
me happy.
Yeah, and as you mentioned during the interview, there is that...
that stereotype of people of our generation and older thinking there is no good music outthere.
Now it's obviously utterly rubbish.
(48:09):
It is harder to discover because of the huge volume of music and streaming, but if you golooking for it, there's lots of great music there.
there's great stuff out there.
And Felix's own solo work and Lime Cordial's are two examples of that.
yeah, no, great stuff.
So thank you all for listening.
We do love to hear from you.
on editor at keyboard Chronicles .com or on all the social media platforms under thekeyboard Chronicles.
(48:35):
Big shout out to our gold and silver supporters.
Dewey Evans from the lovely Wales in the UK is a valued new supporter.
Thank you, sir.
We've also got Tammy Katcher from Tammy's Musical Stew who's a long -term supporter.
Thank you as always, Tammy.
Dave and the team from the musicplay .com forums.
(48:57):
We would be lost without you.
there you go.
Wearing the keyboard corner t -shirt.
Good man.
Yes, that's the place to go if you want to chat with like -minded individuals.
And then Mike and the team at midnightmastering .com.
If you need high quality mixing and mastering of your own works, Mike is the guy.
So again, thank you for listening and thank you, Paul, and we'll see you next show.
(49:23):
you
Welcome to the keyboard chronicles of podcast for keyboard players.
I'm your host David Holloway and I'm pumped as always to be here with you Paul Bindig.
It's always a damn pleasure to have you here as well.
How are you sir?
The pleasure is all mine David I'm excited once again to be with you and I'm lookingforward to our guest.
Yeah, look it was we've just finished a lovely time with Felix Bornholt.
(00:31):
So some of you will have heard of Felix's work with Lyme Cordial.
Others won't.
We're obviously the vintage Paul that we're aware of Lime Cordiale thanks to ExtendedFamily, i .e.
the Next Generation.
But as you mentioned in the show, this is a real deal band that does some amazing musicand I certainly am keen to go and see them.
(00:52):
So we chat to Felix about quite the gamut of stuff, don't we, Paul?
Yeah, I have a little very incidental personal Lime Cordiale anecdote, which I'll tell inthe outro, but...
They're a big deal.
They're a big deal.
That's for sure.
And we're very lucky to get hold of Felix.
He's also a very busy guy.
Yeah, absolutely.
They're about to embark on another big tour.
(01:12):
So yeah, I hope you enjoyed this interview with Felix and we'll see you after the show.
Felix, it's an absolute pleasure to have you here, sir.
And for those of you outside of Australia, as you can see, we're suffering through awinter here, unlike all you lucky people sweltering in the heat of Europe and the US.
(01:39):
But yeah, wonderful to have you here.
it's great to be here.
And yeah, it does get cold in Australia.
Who would thought?
It does.
So I thought we'd kick off, Felix, just with.
A usual question about your musical upbringing.
know you're New Zealand born and bred.
I'm just really keen in those early years before you moved to Australia to study music.
What were your formative years like from a musical viewpoint?
(02:01):
What got you passionate about music?
Yeah.
I so I grew up in Wellington and New Zealand.
And I mean, I owe a lot of it to my dad.
My dad is a huge jazz and vinyl nut.
And so is my uncle, actually.
And we live just down the road.
So.
I kind of grew up on this really, I guess this diet of like a lot of ECM, kind of like theArt Ensemble of Chicago, Don Cherry, Pharaoh Sanders, and kind of lots of pretty, I guess,
(02:34):
yeah, my dad kind of, there's music playing constantly in the house.
I mean, to the point where still when I go home now, I will get woken up at 7 a in themorning, because Greg, my dad, will have put on, you know, like some pretty hard yacker.
like Pharaoh Sanders record, top volume, everyone's in bed.
That's just, that's kind of what happens in the house.
(02:55):
So I grew up on all that music and that was just always there.
And my uncle as well, you they had this huge vinyl collection.
think, you know, when they were putting together, there was a book on Mike Knock, thepianist, done a few years ago.
And they had to come to my dad and my uncle because they had Mike Knock records.
(03:16):
that Mike Nock didn't have and no one had.
you know, they kind of have this amazing collection.
So I grew up on all this really interesting music.
And I should say, yeah, my dad's a painter and a poet and my mom is also a poet and awriter.
So I sort of grew up in an environment where everyone I knew through the family was,everyone was writers or painters.
(03:40):
And that was what my parents did.
You know, no one I knew had a normal job.
So it almost seemed, I think, you know, the big rebellious thing to do would have been toget a normal job.
And it seemed very normal that of course you'd go and study jazz piano.
And that was, guess, yeah, just going on all that music.
I obviously played all through my childhood and about halfway through high school was kindof thinking like, yeah, this makes sense.
(04:06):
I want to do this with my life.
And then surprisingly, you know, my dad was...
or and my mom were both like, yeah, of course you've got to do a jazz piano degree.
That's a, that's a no brainer.
so you preempted my next question beautifully, Felix, which was, yeah, why was it asidefrom you were doomed from the beginning, it sounds like in a positive way as far as your
(04:26):
exposure to jazz.
No chance at all.
But yeah, so what was the decision that from being immersed in that as a, as a teenagerto, okay, I'm actually going to do this full time and study it.
What, what was the
turning point for you?
I mean, there's probably, you know, there's probably some records, but we can save thosefor desert island discs.
(04:49):
I think maybe also realizing, because, you know, New Zealand does feel very far away fromthe rest of the world and possibly realizing, I kind of discovered maybe halfway through
high school, this whole Australian jazz scene.
and musicians from New Zealand.
And that was sort of very inspiring.
mean, you know, there's great New Zealand and Australian musicians and sort of realizingthat that was a thing and that that was possible.
(05:16):
And I mean, I moved over here to study at the conservatory and I did the jazz course thereand sort of finding out about that was this amazing moment of realizing, you can do this
in this part of the world.
And there's this amazing tradition of really incredible music coming out of the SouthPacific.
I think I'd always been very New York -centric in terms of where I thought it happened.
(05:39):
And it was kind of amazing realizing, there's these things happening quite close to home.
What would be something our listeners might not know that speaks to that as far as theSouth Pacific tradition in this sort of music?
Yeah, I mean, even as a crossover, there's a Mike Nock album.
(05:59):
Mike Nock, if you don't know, is
Just this amazing pianist.
He's originally New Zealand, but he spent a really long time in America, was in bands witheveryone.
and now lives in Australia, but he, yeah, he made a record on ECM, called on Das.
And, know, there's a, which is kind of, it's like a really famous seminal jazz record.
(06:21):
And there's a track on that called blank, the long white cloud, which is a, a term for NewZealand.
So there's kind of these things of, yeah, you see this.
New Zealand track on an ECM record by a New Zealand pianist.
Yes, they help you connect the dots a little bit.
Now, that's great.
And so what's your recollections, Felix, of turning up to Sydney to actually study this?
(06:45):
So obviously, as much as you were immersed into and you would have developed a body ofknowledge, what what was what were the eye openers in that more formalized study for you
both as a player and just as an appreciator of the genre?
I mean, guess I had that very classic thing of by the time I left Wellington, I'd reallybeen doing it for quite a, you know, was practicing hours a day.
(07:10):
I was doing a lot of transcribing and, you sort of get to a certain level where I wasfeeling like, I'm kind of, maybe I'm the guy in my high school.
And then obviously coming from New Zealand to Australia, where there's just a lot morepeople and the con and having that just the classic moment of like, I am right.
bottom here.
(07:31):
There's a lot of work to be done.
But I mean, I was totally enchanted when I first moved here.
Wellington's a really amazing city, but it is small.
Yeah, I think that 200 ,000 people or, and so moving from there to Sydney, where I thinkthere's 6 million people in Sydney, it did really feel like I was just rocked up in New
(07:56):
York and I was
Living with this amazing trombone player, Matt O 'Brien, who's a phenomenal musician.
He's really great in Australia, but we were just going out to gigs like six nights a weekin Sydney.
Kind of for the first like two years that I moved here, because it was just a reallyforeign thing to be like, there's jazz on every night here and you can go see it.
(08:18):
And it was a lot of records I'd been listening to in high school, like the Catholics andkind of in my head, these people were more famous.
and kind of meant more to me than, you know, like you ran into Taylor Swift or something,it was like, my God, the Catholics are doing a gig.
We've got to go.
And it was just that very kind of enchanting period of getting here and practicing at timeand seeing all this music and realizing you're not good and you kind of put in a lot of
(08:46):
work.
So Felix, tell us about, so you're in Sydney, you're studying, as you say, you're outregularly checking out jazz gigs.
How did this morph for you into starting to gig regularly yourself?
What did this look like?
What were you doing at the time?
Yeah, mean, was sort of an interesting path.
(09:08):
I I didn't really play gigs for the first couple of years in Sydney, apart from veryoccasionally, because I was sort of really...
I guess very self -conscious or slightly paranoid about, you know, I'd become aware thatmaybe I was not quite as good as being the only guy in Wellington would lead me to
(09:28):
believe.
And I think I really felt not in a rush to suddenly start performing publicly.
guess, yeah, through the corner, was really into, and I'm still really into likeimprovised music and creative music.
I guess, yeah, that's weird to call it creative music, experimental music.
So I was, yeah, for quite a few years, I was doing a lot of gigs where I was playingprepared piano, you know, like putting nails and bits of sticky tape inside the piano and
(09:57):
kind of turning it into percussion instruments.
And I was doing quite atonal and avant -garde performances and yeah, playing kind of long,I guess, long form durational, yes, strange improvised things on prepared piano.
As well as some more traditional jazz, you know, the kind of bread and butter jazz gigsthat you do.
(10:21):
And like, I still really love playing standards.
Yeah, it was a weird sort of side by side thing.
Cause I was in my last year at the con and I was doing a thesis on Messiaen, the Frenchcomposer and looking at so nerdy.
We can nerd out.
was looking at one of, he has like these modes of limited transposition.
(10:42):
These kind of interesting scales that he.
invented or discovered.
And I was doing a thesis on using one of those and ways that you could build animprovising language around that.
And then at the same time, I also started playing in lime cordial.
So I had these two concurrent streams that were quite, quite different from each other.
(11:04):
All right, so let's talk about lime cordial.
Now,
our Australian listeners and viewers will be very familiar with Lyme Cordiale but it'spossible that some of our overseas listeners and viewers may not.
here's my description of Lyme Cordiale but I'm much more interested in Felix.
Lyme Cordiale, contrary to popular belief of people my age and David's age and older,where we all go modern music, know, it's all just someone in their bedroom pushing buttons
(11:33):
and there's no actual musicianship behind it and it's boring and there's no modulation andit's...
Well, Lime Cordiale very much gives the lie to that idea.
Lime Cordiale are a real band that play real music live and they are phenomenally popularwith young people.
And I was telling Felix a story off air before that my two sons are signed up committedrabid Lime Cordiale fans and so is David's daughter.
(11:58):
So our adult children love Lime Cordiale.
we're...
I'm much more interested in your perspective on Lime Cordiale.
So A, how did that start happening?
So on one hand you're playing these avant -garde gigs with nails on piano strings.
How do we end up playing in a phenomenally popular current band that is scaling greatheights?
(12:20):
But also I'm interested in your perspective on the music and how you perceive LimeCordiale and what attracted you to it?
I guess that, you know, the connection is kind of actually a Sydney Conservatorium one.
because yeah, was good friends and studied there with Nick Polavinio, who's a trumpetplayer and guitarist, really phenomenal.
(12:40):
And he was already playing in the band in Lyme.
So we were at uni together.
I was head deep in the thesis.
then, yeah, Nick gave me a call one day and said, you a keyboard player in this band.
Are you kind of interested?
And I was like, yeah, you know.
pretty deep in the mess I am at the moment, but yeah, we'll do this.
(13:03):
We'll give it a go.
yeah, I mean, obviously checking the music out, like where the music was at that stage,was a very, I think things that appealed to me about it, it was a very instrument heavy
band, or you know, there's a real, everyone can really play and there's a real attentionto parts and detail.
(13:24):
Also,
Nick and I were both at the con and then James who plays drums also went through the jazzcourse at the con.
And Ollie who's a lead singer and kind of one of the lead singers and kind of runs theproject did classical clarinet at the con.
So there's four of the five were through the conservatorium.
(13:44):
So think maybe there's a little bit of an outlet there for everyone still wanting toreally be on the instruments.
Yeah, you don't just want to, you know, I think there can be a tendency, I would pop back,know, you throw everything on the track and on backing track and call it a day.
And there was a, there's a real aversion to doing that, which is great.
(14:06):
And with the lime thing.
Yeah, I think that's what that's wonderful.
And, and I'm really curious as to what, what's the touring rig look like for LimeCordiale?
So what's, what are you taking with you when you're, when you're playing these shows andhow you're using it?
Yeah.
I mean, it's not too complicated.
It's almost fairly unsexy, but it's really good.
(14:27):
I have a Yamaha CP -73 as the main keyboard for the Rhodes piano organ sounds.
I just feel like, yeah, for key beds, that's the best feeling thing I've played.
(14:47):
Stage pianos are such a tricky one.
I mean, I don't know how you guys feel about them.
I haven't found one that does everything that you want it to do.
Yeah, I think that's probably a, I think that would be a common experience, Felix.
I use a Korg SV188, which I love, but it has also had one of those.
(15:14):
Okay, there you go.
It has got its limitations, but it is fantastic for your roads and your whirlies and thatsort of thing as you would know, Felix.
But then when I'm touring around, I tend to end up getting Roland versions of Rolands,which aren't bad either, but they have their limitations too.
But it sounds like Yamaha is the one that does the most things for you, the right way.
(15:35):
Yeah, yeah.
It's good.
And it's kind of, I guess, structured in a way where I do just keep that for, yeah, pianosand roads.
tones.
have actually had, I've sort of pitched it to people on Instagram or, know, nativeinstruments on Instagram.
But, know, I do think it would be great just to have a stage keyboard that was really well-weighted that you could run contact libraries on.
(16:02):
people are sort of, think, you know, possibly a reason they won't do that is because itwould probably remove a lot of
market need to ever upgrade it.
And that's probably not in keyboard manufacturers' best interests.
Because that just seems and I have looked at certain points about getting really stuck inand building like a custom keyboard with like a knock or like a mini computer or two Mac
(16:28):
minis in it to do that.
But it sort of gets a little complicated and yet potentially less stable.
But that's kind of always been the dream is something that you can run contact librarieson.
that's all in the one box.
So you're not having like tons of laptops side of stage.
Yeah.
But yeah, so I was going to say the Arturia Astrolab is sort of Arturia's attempted thatneeds a nice first step, but yeah, I couldn't agree more.
(16:56):
So sorry, keep going, Felix.
Yeah.
Yeah, I was very excited about the Astrolab.
And yeah, that's, that's a bit, that's a bit of it.
It's kind of, that's the closest that's ever been.
So that was, you know, maybe other companies will have to kind of have an answer to thatnow.
because I have that.
And then I also have a UDO super sex, which I'm so pleased.
(17:19):
I see it everywhere now.
It's so loved.
Yeah.
And it's great.
I bought it in Bristol.
I went to the factory where they make that synth.
I mean, I say factory, it's three guys in like a little office in Bristol.
and yeah, George Hearn who designed and built the synth.
was there and they just worked there full time.
(17:41):
They're all built by hand.
So spent a morning there in Bristol a couple of years ago where they were showing me, theyhad a bunch of them in various stages of assembly.
And I mean, that's just an amazing synth.
I think like for, actually, I do think we're kind of coming out of it at the moment, butthere was a real era of just vintage synth revival.
(18:03):
And the UDO or the Super 6 is like a really new instrument, I think.
You know, it doesn't feel, guess there's elements of it that are kind of like a Juno, butit's pretty like its own thing, you know?
and just, you know, great, just having a tiny company and it's, it's really amazing whenyou see them, like how much detail goes into every single unit, like they're totally hand
(18:28):
built.
and yeah, it's an amazing sounding set.
Yeah.
You're not helping me feeling something tempted to buy one of them a few times.
You're making me want to again.
Pull the trigger on it.
Actually, I would...
Just get it, I'd go, let's say the Super Gemini, that new one they just released.
That's right, yeah.
(18:48):
That's kind of the one.
I mean, that's almost, yeah, that's a pretty big thing to tour.
Yeah.
But yeah, for props to the Udo, I really hammered that thing on the road, probably doing100 shows a year with it for a few years and it's never busted once.
I've never had to take it apart.
never had any problems with it.
(19:09):
Yeah, no, exactly.
And you've raised a really interesting point there, Felix.
So touring and Lime Cordiale have been a very big touring band.
know you've got a number of huge number relatively of European and then back in Australiandates, later half of the year.
Tell us about your initial experiences and what you've learned as a traveling touringmusician.
(19:29):
We all know it's a hard grind, but just give us your perspective on how hard a grindthat's been a what.
that also some of the positives have been of that.
Yeah, I mean, like I've always been someone I really love being on the road and I guessthere's been different phases, possibly something that is really different in Australia
compared to like the US or the UK that people maybe don't realize until they come out hereand have to do one is that you have to fly everywhere in Australia.
(20:03):
And especially when you've got
back -to -back shows, you basically don't really sleep at all kind of over a tour andyou're having to fly all your gear.
So mean always onto a, it's with the lime thing, we've been flying around like 600 kilosof gear that just gets checked in the same way you'd check in a suitcase.
(20:27):
And that was how we did it for years and years.
And I think that's, I've never done any touring harder.
than touring in Australia.
You know, I really do feel like a weekend of shows in Australia is much harder than sixweeks of shows in the States or in the UK when you're on a tour bus.
(20:48):
And then, yeah, I guess in the last few years being on buses, that's been just fantastic,you And then a whole other thing to learn of how do you live with these 12 people
constantly.
Where you can you know, you're in bunks and you can reach out and touch everyone You'rethat close Yes, now it's a really good point and as you know, they're a level So it sounds
(21:12):
like you had a few years of the van level and now you're at the bottom level and you knowYou never know hopefully you're at the the plane level even in the US and Europe Or back
to the van That's right your own van your own
No, that's great and we will be linking to, as said, Limecord are doing some extensivetouring still the remainder of this year.
(21:36):
So yeah, no, appreciate that perspective.
And from one extreme to the other, as far as a busy touring life to your own solo work andyour solo piano record, tell us a little bit about that and what itch that scratches for
you.
Yeah, a lot of the music I grew up on, all that ECM stuff.
You know, I've like really grew up on a lot of solo piano and I felt like a affinity tothat or like closeness to that as a, genre is not the right word, you I guess a mode of
(22:07):
writing or a mode of working.
And I've really wanted to, yeah, I guess I've always really wanted to make a solo pianorecord and I will make more, you know, it's not one down, that's it.
The record I put out last year, Man Overboard, was sort of a combination of, I guess,about half the record is completely improvised.
(22:34):
And there's a couple of things on it that are through composed.
And then there are a few things on it that were, I guess, little cells or ideas.
mean, because I grew up as such an improvising musician, that's something that's reallyimportant to me.
And I guess going into that recording date.
I was trying to just prepare material that could have an openness to improvising withouttrying to delineate things too much.
(23:02):
You know, I think if, at least for me, if things are too codified, can, it's easy to getneurotic in your head if they're not working and then really trying to make them work as
opposed to being open to just changing things on the day.
So a bunch of, it's almost like a bunch of the material for that record was half prepared.
(23:23):
with the idea of, you know, it would fully form itself on the day.
I think it's also a really piano specific thing because I was preparing a lot of thatmaterial on like this beautiful old upright that I have at home, which had this gorgeous
warm, you know, that really close upright sound.
But I knew that I was going to record the record on a Steinway Model D, you know, 12 footconcert grand in a concert hall.
(23:51):
And you know, it's technically the same instrument, but you're pretty far apart from thepiano.
You'd be upright in your living room to that.
And I think you can make things work really well in your living room and they're not goingto translate at all into the piano and the concert hall and vice versa.
think, I mean, this is one of the total banes and joys of playing the piano is that you'renever playing the same instrument.
(24:21):
And that, you know, piano to piano, the touch is so different, the way it responds is sodifferent, the tone is different.
There's that great Paul Blay quote about, you know, I think he says something about eachpiano has, you know, one or two good notes or five good notes, and you've got to find them
each time.
And I really, I really feel that.
(24:42):
And it's such a great challenge and also a huge pain, you know, because you.
Yeah, you can prepare things so well on one piano and then find that they're just notworking at all on another one.
So yeah, for that record, was taking care not to overwrite on the piano in my living room,knowing it was going to be happening on the Steinway in a concert hall.
(25:05):
Yeah, and waiting to see what that instrument would reveal to you about itself, which Iguess is your process, right?
Yeah.
And I do really feel there is like, you know, whenever I play those instruments,
which is not hugely often because I don't have a concert Steinway at my house.
But it really does feel like kind of lifting a veil on what you can do on the piano.
(25:29):
like you said, you really, I love how those instruments really make you play at your bestor that they really, they pull you up and you realize things are possible on them that you
might not have thought you could do.
And it's sort of hard because you're so dedicated to this instrument, but you only getthose moments on the instrument kind of infrequently.
(25:51):
Yeah.
I'm very jealous of saxophonists that get to own their Selma Mark VI and that's justtheirs and they pick it up every day and it's always the same.
Yeah, they cuddle it when they go to bed at night, no doubt.
Yeah.
Exactly right.
So this is interesting.
So you've mentioned there that this is not going to be your one and done.
(26:11):
piano solo record you're looking forward to making more in the future.
Tell us about your other future aspirations musically.
mean, from my perspective, you've got a long successful career ahead of you.
Your career has already been successful.
What aspirations do you have?
Are there people you'd like to work with?
there other projects you'd like to explore?
(26:32):
God.
Yeah, mean, there's so much.
I mean, at the moment, I'm working on a pipe organ and tenor sax duet record.
with an amazing Sydney saxophonist, Alex Gisbriser.
So we're kind of getting music ready for that, which I'm really excited about.
Actually, I guess just as a quick aside, I was, this is possibly a good tip for pianoplayers.
(26:56):
If you don't have a piano at home, good to see what churches are around your area.
I'm not a religious person, but a lot of churches have quite nice pianos in them.
And they're normally pretty welcoming to people coming and practicing on them.
which is what I did.
There's a church just around the corner and actually the piano and it wasn't that great,but they have this fantastic pipe organ.
(27:17):
So I started playing the pipe organ a lot and that's kind of led to doing this duetrecord, with Alex, the tennis sax player.
but I'm working on that project.
I also have another band that's just, we're kind of starting to book in properly calledbike thief.
which is a trio with, think Alex Inman on drums.
(27:41):
and Jack Emery playing prepared double bass.
So Jacques, like a total virtuoso, but he lies the base flat.
and then he's also a phenomenal drummer.
So he's sort of drumming on, on the strings of the double bass with preparations in it.
And then I'm playing lots of sub bass and kind of vocal sound.
(28:03):
That's a very like dance music oriented project.
There's a couple of things on YouTube.
That's, that's what a hard one to explain.
If you want to check it out, Chuck bike even to YouTube.
and then, I'd love to, I'm looking at booking in some solo piano dates.
I'd love to do a proper tour and I'll probably try to do another solo record realisticallynext year.
(28:27):
So looking at the schedule.
and I'm also starting to work a lot more in like, film and TV composing.
which I really loved, like, yeah, I love composing to picture.
And that's such a whole new, that feels very new and fresh for me.
And such like a, yeah, a very inspirational way of working, having that much feedback onwhat's informing what you're writing.
(28:57):
It's also really, you know, it's quite foreign for me.
I've been touring for kind of the last seven years.
It's amazing to...
work on music at home.
Yes.
Where you can have a coffee and then get into your own bed at the end of the day.
That's kind of a real, a novelty, which I'm loving.
Yeah, you've great stuff.
You definitely need to value that while it's happening.
(29:18):
So, and so Phyllis, I have to ask, and it can be in any of the outfits, it doesn't have tobe Lime Cordial, but can be a train wreck where something's gone spectacularly wrong for
you and you can laugh about it now, hopefully.
Yeah.
I'm a big gig anxiety dream person.
So I have, have recurring dreams where I walk on stage and all the keyboard, the rig justcollapses.
(29:45):
that's never happened.
I can give you a line, Cordial train wreck where we had a gig a couple of years ago at theHorton Pavilion.
It's a really big venue in Sydney.
about 5 ,000 people there.
and we're on the last song of the set.
It's kind of like the, yeah, the
That's a song called robbery.
It's probably the biggest song as we're cruising to the last chorus.
(30:06):
Huge moment.
Biggest show we've ever done in Sydney.
About to the last chorus and the entire PA dies.
and not like a blip.
It just goes down.
and you know, when you're wearing in years, sometimes it takes a minute to figure outwhat's happening.
So it took us about 10 seconds to realize what was happening.
(30:27):
Then everyone obviously you're talking to.
crowd on the microphone and it's not coming, it's off, but you're not realizing, you know,any realize that, God, there's no way of communicating what's happened.
And yeah, we had to go off stage and it took about five minutes to, fire the PA backupcame on and did the last chorus and then went off and it was kind of good.
(30:48):
It felt sort of rock and roll, but you don't want that happening.
I guess it's a memorable moment if you're in the audience.
You can say, was there the day that Lime Cordiale played and they had to redo their lastsong because the PA just stopped working.
And actually I think my daughter was there and I remember her telling me about that now.
It's funny you say that.
(31:08):
Yeah, there you go.
Hey, she stays with people.
Now, Felix, we ask all our guests this question and that is to tag another keyboardplayer.
And the reason we do that is maybe there's someone that you think would be an awesomeguest.
this podcast or someone that you would like to learn more about themselves?
Yeah, I mean, I would go Novak Mnoylovich if you haven't heard of him already.
(31:32):
He is a phenomenal keyboard player.
So sorry, the reason I'm laughing, Felix, is because my niece is married to Novak'sbrother.
So I know Novak and it's a great pick.
I like your pick.
Hey, I mean, you already know him.
If anyone doesn't, for listeners who do not know Novak, Novak is one of my favoritepianists, probably realistically in the world.
(31:59):
He's a couple of years older than me.
He's also from Sydney.
He was a few years ahead of me when we were studying at the conservatorium.
Just a really amazing singular voice.
He writes beautiful music.
He's an amazing improviser.
He has a lot of re
really interesting projects, string quartet things.
(32:21):
He recently wrote something for the Sydney Symphony, which I saw at the Alperhaus withGodtet.
Novak's got an amazing trio called Heka, which I reckon that's like one of the best pianotrios around at the moment in the world.
It's really amazing music.
And Novak's a great thinker and talker about music.
(32:42):
Yeah, that's my pick.
Great pick and thank you.
And I'm embarrassed to say I hadn't thought of approaching Novak and I will be now.
So if you're not able to get him on the show, will very badly on your inter familyrelationship.
Yeah.
Pressure's on.
No, thank you, Felix.
That's great.
And then, and now we have the dreaded desert Island Discs question.
So five albums, if you could only choose five, what would they be?
(33:05):
Yeah.
I don't know if this is dreaded.
I quite like doing things like this.
I had, me, I wrote these down cause I don't want to mark them up.
in no particular order.
a mutable set by Blake Mills, who's a fantastic guitarist in LA.
I mean, for the last, I had to put this on because probably for the last two or threeyears, I listened to this record every single morning.
(33:32):
And I don't seem to get sick of it.
And it's beautiful.
You know, it's so beautifully detailed.
It's one of those ones that really it opens up.
The more you listen to it.
And it's just so beautifully paced.
The first song, there's two and a half minutes of sort of just very understated guitarthings before, yeah, and then some vocals come in.
(33:56):
You're like, well, I didn't even know this was a, you know, actually I was so in the ageof you've got to have vocals in the first two seconds, otherwise the Spotify algorithm
won't pick it up.
So it's so refreshing to have this thing that just takes its time.
So that's my number one.
My number two.
Colin concert, Keith Jarrah.
(34:18):
Yeah.
I feel like, you know, this is like, it's a, it's a big, it's an obvious pick, but I wastrying to, I was trying to be honest with this.
And like, that was a huge one for me in high school, like hearing that it really, as withso many people, it completely blew my mind and I was so moved by it.
And I'm still so moved by it.
(34:39):
Actually, as an aside, I watched that Keith Jarrett, Rick Beato.
It's amazing.
Yeah.
A months ago and God, I mean, it was amazing, but yeah, it just killed me.
was like completely bawling my eyes out because yeah, Keith's Keith has meant like so muchto me as a musician.
so that's my number two.
Number three, you would go to the mysterious production of eggs by Andrew bird.
(35:02):
Great title.
Yeah, just as a
It's such a beautifully, intricately arranged kind of Baroque chamber pop folk thing.
really, yeah, really singular record, I think.
And I love like Andrew Bird, particularly lyrically is so intelligent.
(35:28):
I don't think any, I don't know anyone else that writes lyrics like Andrew Bird.
Yeah, that's a very refreshing record for me.
And also that was a teenage record where we had that at
in the house.
was actually one of the few non -jazz records we played in the house growing up.
But yeah, that was on a lot.
Andrew Bird, a record called Tribalistas by a band called Tribalistas, which are kind of aBrazilian pop super group made up of Marissa Monche, Analdo Altunes and Carlinhos Brown,
(36:05):
who are these three huge Brazilian stars.
And they, yeah, they put out this self -titled record in 2005.
And it's just phenomenal.
And again, it's a childhood record for me, but it's really joyous music and like such agreat example of, you know, the band is sort of greater than the sum of its parts kind of
(36:27):
thing.
those three all kind of have huge careers in Brazil.
But there's something about this record that's really
You know, it transcends what they can all do individually and great, yeah, greatsongwriting and great instrumentation.
There's a really good concert DVD, not concert DVD, like a studio DVD of them putting thatrecord together that we used to watch a lot when I was a kid over dinner and put on the
(36:54):
Tribal Easter DVD.
And last one, again, obvious choice.
I'm trying to be honest.
I've been listening to Kind of Blue a lot recently.
That's just an amazing record.
you know, like hearing it's such huge personalities on it and they're so distinguishableand it works so beautifully.
(37:20):
in a way that it almost, you sort of can't believe it, you know, having a Miles solo andthen a John Coltrane solo and then a Cannonball Adderley solo.
And they're so completely who they are at that point.
And it's this phenomenal thing.
I've actually also been listening a lot to, you guys heard Blue, that album by mostlyother people do the killing?
(37:43):
It's a note for note recreation of kind of Blue.
played by some really phenomenal New York jazz musicians like Peter Evans is on trumpet.
And you know, note for note, in like, every note of every solo, every drum hit, every bassnote is identical.
(38:04):
And it's kind of this weird art object.
And it's great to listen to.
Sort of, I mean, it's like, I almost reckon listening to it, it's sort of like there'sthings about it that are really funny.
And it sounds so close to Kind of Blue, like where you probably wouldn't know if unless,if you walked into a shop and heard it, you'd go, it's Kind of Blue.
(38:31):
And even maybe you'd really have to sit down and pay attention to it to notice thedifference.
But there's this wild uncanniness of it and it's sort of very funny.
And it changes the whole way you listen to that record.
know, listening to Kind of Blue is this amazing free.
There's a great sense of freedom and relaxation to it.
And then you're listening to listening to blue.
(38:53):
You're aware of this like Hiculean effort and this ridiculous detail.
know, Peter Evans is really, you know, every like kind of imperfection and notes thatMiles plays every like slightly broken note or when Miles doesn't quite make it, you know,
Peter's really nailed that so perfectly.
So you're listening to the same music and it sounds 98 %
(39:17):
the same but there's this it completely recontextualizes what you're listening to.
So interesting we definitely have to check that one out.
Yeah that's great.
We're checking out as a novelty but yeah kind of blue fantastic record.
Yeah and you know the classic thing you you said you were you're being honest but but theclassic records are classic for a reason right so yeah thank you for adding them to your
(39:40):
list.
So we we always finish off with our quick fire 10 Felix which is 10
Quick questions, 10 quick answers.
First thought that comes into your mind as an album.
I'll kick us off.
And this will be an interesting one.
What's the first album you ever heard?
I think it was probably Fold Your Hands, Child, You Walk Like a Peasant by BelenSebastian.
(40:04):
I only know this because I had a memory of there's a song from it that I remembered laterin my life as sort of the first song I'd ever heard.
And I didn't find out what it was until I was
in my 20s, but it was from that record.
Yeah, that one's basically great.
Most important pre -gig ritual.
Look, I'm a big snacker, know.
(40:27):
Snacks, meal, the meal's gotta happen.
Can't be doing a gig hungry.
Amen, brother, amen.
All right, now, your childhood story was so interesting because as you outlined, unlikeprobably many people who get into professional music, there was, were...
fully supported, was almost expected of you that that's what you would be doing.
So this, which really throws this question into great context.
(40:49):
If you hadn't been a musician, what do you think you would be doing?
I would probably be writing.
I read a lot and I grew up in a very literary family and that's something that's reallyimportant to me.
So, yeah, so though it did say in my yearbook, I would be in the Navy.
Yeah, which I don't know where that came from.
I be in the Navy.
(41:12):
Yeah, there was a point where that seemed on the cards for some reason.
I'd be writing.
There you go.
Excellent.
Now, assuming that someone from the conservatory was listening, I think you have a vestedinterest in how you answer this, but transpose button or adjust on the fly.
you've got to manually transpose it.
(41:36):
Have you ever used the transpose button?
This is a supplementary to David's.
Have you ever touched it?
No.
No.
I've played things really badly in a key I didn't quite get around a lot, but I've neverhit the transpose button.
so I'm stealing that.
I've done that a lot, regularly.
(41:59):
What's the favorite gig you've ever done?
A few months ago, I played a show at Wayward's in Sydney with Bike Thief, that trio withthe prepared double bass and drums.
Something about it, mean, that music for me, it's you got to be so on and so aware andhanging by the seat of your pants.
(42:19):
And it was just, you know, a little hot, sweaty club gig.
But yeah, came away from that.
couldn't sleep.
I was up all night.
I was so charged up from it.
That was probably, yeah, that's the one for me.
And favourite city you've ever played, I love New York.
(42:42):
You know, it's almost too expensive to go there now, but I really love New York.
that feels like a really, playing a gig in New York, it does feel like a pretty importantlife moment.
Have you noticed David how no one ever says Adelaide?
Yeah, that's right.
I it might be a chance.
sorry, I meant Adelaide, yeah.
Now you're lying.
(43:03):
Okay, the favorite song you've played at a gig this year, and it's last year or so.
The favorite song you've played.
Can I pick one of my own?
Because it was the first time I played it.
Yeah, I did a solo piano gig, which is the first time I've done one for quite a few yearsat the start of this year.
And I played a song that's on my record, Man Overboard.
(43:23):
called Rosie's Glorious Return to the Pool.
And it was the first thing I kind of put together for the record and it was the firstthing I ever released under my own name.
And it was just a really great feeling to, yeah, I when you've seen something through fromzero to full conception, it was just a fantastic feeling to do that.
(43:46):
Great.
Favorite music documentary or movie, Felix, if you can pick one out.
Might be the tribal easter's DVD.
got this.
Tribal easter's DVD.
Fantastic.
Stop making sense.
Fantastic.
Spinal tap.
Fantastic.
I shall watch it really good.
(44:07):
I can't remember the name of it.
There's a really good new docco on the velvet underground.
I know what you mean.
Apple TV.
The names just suddenly escaped me.
I thought that was really good.
What's one thing you would love to see invented that would make your life as a keyboardplayer, pianist, organist easier?
(44:29):
Maybe apart from your great stage piano idea?
me think, Dan.
I spend a lot of time obsessing over that stage piano idea.
I think the melding of computers into...
synthesizers or interstage keyboards hasn't really happened in a way that makes sense yet.
(44:52):
And there's, I would love to see something that lets you kind of have the same control asrunning Ableton in terms of sampling and soft synths that was built into a keyboard in a
way that makes sense.
Yeah, no, great pick.
And very last one, Felix, what keeps you sane outside of music?
(45:13):
What's a non -musical activity or hobby that you like doing?
I'm a big reader.
I read a lot, like, on tour and at home.
So, yeah, that's a huge one for me.
Give us a book recommendation.
what am reading at moment?
I'm reading a great book at the moment called Priest Daddy by Patricia Lockwood.
She grew up in a house where her father was a Catholic priest, which is very unusual, butand a complete
(45:39):
bizarre character.
It's a really, really funny memoir.
That's fantastic.
I've also been reading the novels by Ben Lerner, great American writer and poet.
He's written three novels.
Also in Sydney, whenever I tell people that, there's a great saxophonist here, also fromNew Zealand, called Ben Lerner.
(46:00):
And so always say, I've been reading Ben Lerner's novels.
Everyone goes, I don't know Ben wrote novels.
Felix, we cannot thank you enough for taking time.
That's been an absolutely brilliant chat.
We're thrilled to see what happens with you in the future and I'm certainly hoping to getalong to some gigs, particularly if you're doing, as you said, more solo piano gigs and
(46:21):
stuff in the future.
We'd love to get along and see you, but yeah, again, can't thank you enough for your time.
Thanks so much for having me.
And there we have it.
So I've been waiting, Paul.
(46:41):
What's your line, Cordial Anecdote?
I want to hear it.
Well, it's not something I really wanted to mention during the interview because it's sucha funny, silly little story.
there's a large venue in Adelaide called Febbiton Theatre, which holds about, when I saylarge, holds about 1 ,800 people.
for the town of Adelaide, it's a significant sized venue.
(47:02):
And my tribute band has played there a few times.
On one of our recent visits to Thevenin Theatre, we thought we'd sold out pretty well.
we found out we were following Lime Cordiale.
They were playing the two nights before us at Thevenin Theatre.
And my kids went to that show, opposed to going to my show, they went to that show, and itsold out both nights.
(47:26):
And I said, and I didn't know this, I there many, I see they played two shows, were theremany people there?
Dad, it sold out both nights.
In an hour or something within going on sale.
They're very popular and becoming more and more popular overseas too now and rightly so.
Please, listeners and viewers, for those who haven't heard Lime Cordial, just check itout.
(47:47):
It's great music and you can see why it's popular.
So it's nice to see this sort of music which is really serious stuff attracting so muchpopularity from young people.
me happy.
Yeah, and as you mentioned during the interview, there is that...
that stereotype of people of our generation and older thinking there is no good music outthere.
Now it's obviously utterly rubbish.
(48:09):
It is harder to discover because of the huge volume of music and streaming, but if you golooking for it, there's lots of great music there.
there's great stuff out there.
And Felix's own solo work and Lime Cordial's are two examples of that.
yeah, no, great stuff.
So thank you all for listening.
We do love to hear from you.
on editor at keyboard Chronicles .com or on all the social media platforms under thekeyboard Chronicles.
(48:35):
Big shout out to our gold and silver supporters.
Dewey Evans from the lovely Wales in the UK is a valued new supporter.
Thank you, sir.
We've also got Tammy Katcher from Tammy's Musical Stew who's a long -term supporter.
Thank you as always, Tammy.
Dave and the team from the musicplay .com forums.
(48:57):
We would be lost without you.
there you go.
Wearing the keyboard corner t -shirt.
Good man.
Yes, that's the place to go if you want to chat with like -minded individuals.
And then Mike and the team at midnightmastering .com.
If you need high quality mixing and mastering of your own works, Mike is the guy.
So again, thank you for listening and thank you, Paul, and we'll see you next show.
(49:23):
you
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